Comedy

STELLA (2005)

November 9, 2020

(DVD) An absurdist comedy from THE STATE members Michael Ian Black, Michael Showalter, and David Wain, this one-season wonder has its roots in Marx Bros-type anarchy. Michael, Michael, and David play petulant man-children who dress in formal suits, and literally run from scene, throwing words at the walls to see what sticks.

Here’s an example from the pilot (linked below):

“Guys, the landlord’s coming. We have to clean up!” [They plump the many pillows found through their otherwise visibly immaculate apartment, then they take up instruments in front of their door and strike individual poses. The landlord knocks.]

“It’s the landlord. Let me in.”

“Uh, we can’t! We’re in a tableau! You’ll have to use the key under the rug to let yourself in!”

[Landlord looks down]

“There’s no rug.”

(Michael, to Michael and David): “Guys, I forgot, I took the rug to be dry cleaned last month because it was filthy.”

[Michael opens the door]: “Here’s the dry cleaning receipt. You’ll have to pick up the rug.” [Michael closes the door. The landlord takes a cab to the dry cleaners. Michael, Michael and David are visibly uncomfortable maintaining their tableau. Landlord gets the rug, heads back, unfurls the rug, plucks the key from under, and opens the door.]

Michael, Michael, and David: “Don! What a surprise! Great to see you!”

How much mileage you’ll get out of this show will depend on how grating you find the characters’ tone, and whether you’re able to overlook their rivalry with their all-woman downstairs neighbors (including Rashida Jones in the pilot). None of them have the charisma of Groucho, nor the hapless naïveté of Harpo. There’s certainly no Zeppo. Despite that, the show represents a neo-vaudeville sensibility far better than any show I can think of in the past twenty years (with the possible exception of CHILDRENS HOSPITAL, but that’s a show for a different day).

The original pilot:

https://vimeo.com/313214499

SNUFF BOX (2007)

(hoopla/VOD) If you’re reading this, you’re probably familiar with Matt Berry and his vocal and musical talents, either via FX’s WHAT WE DO IN THE SHADOWS, THE IT CROWD, or THE MIGHTY BOOSH, but SNUFF BOX is still my favorite work of his. (Also, shout-out to Rich Fulcher, who keeps popping up in the oddest places, including Oscar-winning MARRIAGE STORY (2019).)

SNUFF BOX is a severely dark British sketch comedy show that lasted for only six episodes, but it is endlessly re-watchable. It’s centered around two loathsome hangmen, their puerile antics, their ability to break into song, and that’s all you need to know.

Please note: the Rude Song below is very rude and NSFW.

WHIIIISKEYYY!!

TEXAS CHAINSAW MASSACRE 2 (1986)

October 30, 2020

(AMC+/hoopla/Prime/VOD) TEXAS CHAINSAW MASSACRE 2 has a similar reputation to its original as HALLOWEEN 3 has to the first two HALLOWEENs: fans felt betrayed. Both films toy with their hallmark villains (in the case of HALLOWEEN 3, Michael is nowhere to be found), neither film tries to repeat their prior efforts, and both look and feel drastically different from what fans expected. While HALLOWEEN 3 has finally been embraced by horror fans, TEXAS CHAINSAW MASSACRE 2 (TCM2) is still mostly ignored, which I believe is rather unfair.

TCM2 is unmistakably glossier and poppier — just take a listen to the soundtrack. And yes, it’s far broader than the original. In other words, far closer to the tone of similar 80s horror films, but there’s a reason for that.

Hooper and co-writer L.M. Kit Carson (co-writer of PARIS, TEXAS) are using TCM2 to actively undermine what Hooper created with TCM1, by putting a slapstick, circus-like veneer on the entire film. Texas, as a state, is reduced to a brightly colored carnival (Texas Battle Land, chock full of crass Alamo murals and poorly rendered re-enactments), the Sawyer family become a twisted Three Stooges, and Dennis Hopper is reduced to an short-sighted, idiotic buffoon, often over-compensating for his own weaknesses by taking up not one, but two chainsaws.

Is it puerile? Oh, most definitely — there’s even a scene where Leatherface (who quickly falls for our radio DJ heroine) ejaculates in his pants, then quickly becomes frustrated and tears up the radio station upon discovering this new sensation. New Sawyer family member Chop Top has a disgusting habit of picking the skin from around his skull wound with the hook of a clothes hanger and eating it.

Is it satire? I’m hard-pressed to say, but Hooper’s definitely undermining his original creation and having a lot of fun doing so. If they had replaced Leatherface and recast the Sawyer family and hadn’t sold it as a TCM sequel, I’m sure this film would be better regarded today. However, it’s questionable whether the film would have the same bite that Hooper intended if it weren’t billed as a Texas Chainsaw Massacre film, if it hadn’t pulled the rug out from fans’ feet.

NIGHT OF THE COMET (1984)

October 27, 2020

(VOD) A surprisingly rich character-based post-apocalyptic film. Reg, our hero, has her own agency; she stands toe-to-toe against all of the dumb dudebros that she has to endure while still standing by her younger sister, but more importantly, she feels like a unique character — she’s not a prototypical horror archetype. Also, Catherine Mary Stewart plays her perfectly — disaffected and confident. Did I mention that the film opens with her being very focused on her TEMPEST arcade cabinet high-score?

That aside, I will always love this film because of one very particular (non-spoiler) cineaste riff: Reg survives because she’s in a projection booth that was re-enforced due to the explosive nature of nitrate film.*

You could remake this film word-for-word, shot-for-shot today, and it’d still be considered progressive and interesting. But what often gets lost is the fact that the film is surprisingly gorgeous, with some amazing costume and color work. I’m not sure if they were bestowed with a fantastic budget (nope, they shot all of the ‘abandoned streets’ bits at 5am), a brilliant cinematographer and/or production designer, the film stock, the ND filters they were using or whatnot, but everything pops in this film.

  • Fun fact: there are only three theaters in the US that can screen nitrate films because of the risks involved. I was lucky enough to attend a nitrate screening of Hitchcock’s first go at THE MAN WHO KNEW TOO MUCH at the Egyptian in LA in 2017, which had recently been reinforced for nitrate screenings, and wow, that was a treat.

PARENTS (1989)

October 20, 2020

(Prime/tubi/VOD) Directed by beloved character actor Bob Balaban! Scored with mambo-verve by Angelo Badalamenti! Mary Beth Hurt channelling Mary Astor! Sandy Dennis! Dennis Quaid back when he used to give a shit!

Delightfully weird, but very relatable, suburban horror coming-of-age film where the pre-teen kids’ strange imaginations run wild as they suss out that adults are really just large, hungry, hedonistic animals. We need more Sheilas in stories.

If anyone knows anything about the featured home, I’d love to hear about it because I swear I recognize it. It feels like it was ripped straight from Tati’s MON UNCLE.

https://www.youtube.com/watch?v=lHybb1zSH-g

As a treat, here’s Ebert panning the film:

TRAGEDY GIRLS (2017)

October 1, 2020

(hoopla/kanopy/Hulu/VOD) The story of two teen murderesses and the trials of their friendship. Riffs on all of the great teen horror films — probably the most quotable teen horror film I’ve seen in years (it’s been endlessly compared to HEATHERS (1989)) — but still manages to be something completely different, while also being emotionally satisfying.

I’ve said this before but, while there’s a trailer? Best not to watch it, as it gives away all of the best moments & lines. That said, it’s an endlessly re-watchable trailer.

“You’re just hitting bone, dude.” “I’m trying!”

(I know we’re all loving A24 and ANNAPURNA right now, but GUNPOWDER & SKY doesn’t get enough credit, as they’ve shipped some amazing works out into the world within the past several years. Hell, they don’t even have a proper Wikipedia page!)

DELIRIOUS (1991)

September 17, 2020

(hoopla/VOD) Reminds me a bit of STAY TUNED (1992, previously mentioned) in that it’s obviously meta self-indulgence by screenwriters Lawrence J. Cohen and Fred Freeman (both of whom have had an illustrious TV career, writing everything from THE DICK VAN DYKE show to EMPIRE). I’ll go out on a limb and posit that it’s their comedic answer to TWIN PEAKS.

DELIRIOUS has a few wincing moments, especially when it comes to male wish-fulfillment and the auto-shop owner, but it makes the most of John Candy’s physicality, Mariel Hemingway is extraordinarily charming, and the rest of the cast is peppered with amazing character actors, including Raymond Burr basically playing SUCCESSION’s Logan Roy, if Logan Roy was constantly frustrated by his cable box.

Not a brilliant film, but a fun 90s curio. “I can only control what I write, right?”

JOSIE AND THE PUSSYCATS (2001)

September 10, 2020

(STARZ/VOD) If you know me, you know I’ve been a booster for JOSIE AND THE PUSSYCATS practically since it was released. My wife has even walked into my office and exclaimed: ‘You’re watching JOSIE AND THE PUSSYCATS again?!’

It’s a cutting satire of late ‘90s/early naughts consumer culture, perfectly cast, with candy-coated visuals and a soundtrack to die for. Even if it didn’t have goddamn amazing songs fron Adam Schlesinger (R.I.P., also responsible for many great songs from CRAZY EX-GIRLFRIEND. Also, Fountains of Wayne) and Kay Hanley (Letters to Cleo), it’d still be amazing. It’s far smarter than it looks.

Also, it’s the only film to have prominently featured SEGA’s SPACE CHANNEL 5, an under-appreciated videogame classic.

JAWBREAKER (1999)

August 30, 2020

(Pluto/VOD) I saw this a few years after it was released and enjoyed it but, upon a recent rewatch, I finally fully appreciate it: a dark, whipsmart teen comedy, styled like a Barry Sonnefeld film and penned in the vein of HEATHERS, but still manages to be its own thing. On top of that, it features an astounding supporting cast — Pam Grier! Carol Kane! Judy Greer! — and an even better soundtrack. Hell, THE DONNAS even play at their prom!

1999 really was a banner year for smart teen comedies. 10 THINGS I HATE ABOUT YOU! DICK! BUT I’M A CHEERLEADER! DROP DEAD GORGEOUS! IDLE HANDS! Too bad we didn’t quite appreciate what was right in the front of our faces.

ELVIRA, MISTRESS OF THE DARK (1989)

August 29, 2020

(AMC+/hoopla/Hulu/Prime/Shudder/tubi) Combining Elvira’s vaudeville MC schtick with a John Waters-type of cultural/sexual norms disruption was goddamn inspired. Yes, the male gaze interrupts the film’s flow every two minutes, but the self-aware winks and Elvira’s personal agency (mostly) subverts it. (I wish there was a better trailer for the film than this one.)

Also highly recommended: THE ELVIRA SHOW, which never made it further than the pilot.

Feels like THE GARRY SHANDLING SHOW but with Elvira. What more could you want?